Greenbelt '08: The Music Reviews

In what is now an annual service to Greenbelt goers and Christian music buffs generally, from 22nd to 25th August Cross Rhythms had a team of reviewers at Cheltenham Racecourse to report on Greenbelt '08. Here is the final version of their reviews.

SIXSTARHOTEL - Underground - 8.50pmLast year
these Northern Irish beauties produced one of the best albums of the
year, not only according to me but also to the listeners to the Cross
Rhythms Rock And Hard Place programme (who obviously have amazing
taste). This was the set that allowed many of us here in the mainland
UK to hear it live for the first time. Their wonderfully unique brand
of music is really hard to describe without it sounding like I'm
talking about an emo outfit, just to clarify - they are not emo, ok?
They're melodic, they're kinda post hardcore, they've got a lot of
indie influences, they have heartfelt lyrics matched by emotive music
but they are not emo; or at least not what is stereotypically thought
as being so. Instead some quirky time changes, some lovely quiet-loud
moments and passionate heartfelt ditties washed over us - sounding
remarkably tight for a band performing at the venue they were at.
You've probably gathered I rather enjoyed the set and I'm looking
forward to hearing their new stuff in hard copy form. There's no
reason why this band won't go big.Greg Sammons

GARTH HEWITT - Performance Café - 9.00pmThe
compere introduced "a Greenbelt legend" and Garth Hewitt began to
play. The melody was delightfully fresh, his guitar playing deftly
picked and the warm, passionate voice powerfully denounced man's
inhumanity to man. "And the Palestinian guns pound out again/And
Israeli families cower from the blast/But as the gunfire mows down
children, women, men/The cry goes up 'how long can this war last?'"
All this, with the exception of the compere's introduction, was, of
course, a complete flight of my fancy. The reality of the veteran
singer/songwriter's Performance Café gig was rather more predictable.
Garth, now showing a bald patch and sporting his recent Man In Black
neo-Cash look, showed that neither his musical approach nor his
socio-political lyric writing have changed one iota down the decades.
Garth's melodies were still predictable, often being little more than
folk/blues/country "carrier tunes," his guitar playing unsubtle strums
and his voice still showing that unmusicality and odd neighed vibrato
which etched into the memories of longtime radio listeners decades
back with Garth's unwise rendition of "Oh Happy Day". Today Garth
still displays his worrying vocal mannerisms. But putting aside
Hewitt's limitations as composer/instrumentalist/singer it's his one
dimensional political vision which makes many of his songs so hard to
concentrate on. Now don't get me wrong. Down the years thousands of
people have become aware of the heroism of Oscar Romero, the plight of
South African street children and the appalling plight of the
Palestinians through Garth's songs. But to take up the latter example,
Garth's strange political myopia blithely ignores the savage brutality
of Hamas bombardments and suicide bombers let alone whole swathes of
Old Testament Scripture. Genuine peacemaking doesn't come by taking
sides but by opposing hatred and violence wherever it appears. And
songs intended to stamp on injustice only ring true if both sides of
the barbaric Israeli/Palestinian conflict are equally expressed.
Garth's set in the Performance Café was not without any redeeming
features. His song about the injustices heaped on India's Dalits was
timely while "Stealing Jesus Back" scored some good points against
Bush-style foreign policy linked to fundamentalist religion. But this
particular listener is awaiting a new age of
singer/songwriters-cum-prophets who will be able to pinpoint sin not
only by gazing over the parapets of tired Right Vs Left divisions.
Let's have songs that expose the sin of multi-national manipulation
AND the sin of abortion's baby butchery. Until such courageous
songsmiths emerge we, the Church, are left with Garth, a
singer/songwriter who with his simplistic choruses like "the wall must
fall" has failed to realise that shallow sloganeering and highly
selective political pronouncements simply add more bricks to the wall
of division.Tony Cummings

Seth Lakeman
(photo by Stefan Metzler/Greenbelt 2008)

SETH LAKEMAN - Mainstage - 9:30pmSeth
Lakeman gave a most worthy performance on Saturday with his energetic
brand of folk rock. He is fast becoming the pin-up boy of UK folk, is
already as popular as former bandmate Kate Rusby, and all for the
right reasons too. Opening song "How Much" was proof of how diverse
the genre is in style, the kick-ass grooves giving the gathered throng
a taste of what was later to come with the hoe-downs. In an interview
previewing his latest album 'Poor Man's Heaven', Seth explained how
live folk bands like to push the beat and this certainly appeared to
be true here. The album material takes on an edger stance in live
settings, exemplified by none other than Ben Nicholls who proved to be
the coolest and funkiest double bass player I've ever seen. He also
later donned a banjo with the strut and swagger of an electric
guitarist, something you're unlikely to see too often. Next to the
punchier material "King & Country" from 'Freedom Fields' was as
evocative, moving and addictively melodic as ever. The storytelling in
the songs is always sublime, with a leaning towards real life stories
such as the tragic 1981 Penlee lifeboat disaster depicted in "Solomon
Browne". What struck me about the song "The Colliers" was that it
could easily be a top 10 hit for a female R&B group if arranged
differently. It's a surreal compliment to an undoubted skill of
bringing folk into the mainstream without seeming to compromise the
essence of folk itself. The moments when Seth played solo flew by in
a flurry of virtuoso violin playing, and the headline slot was a
vibrant festival highlight.Tom Whitman

EDWINA HAYES - Performance Café - 10.00pmEdwina is probably best known to the Christian community as being
one third of Hummingbird but even without the ethereal tones of Cathy
Burton and Amy Wadge helping out, the singer/songwriter showed herself
to be a huge singing talent. She sang beautiful songs about old flames
and new flames, told amusing stories about her hometown of Driffield,
East Yorkshire and then sang one of the saddest songs ever, Hank
Williams' "I Can't Escape From You". Edwina was excited about getting
a new solo album out and as that is only her second in 14 years one
could understand her enthusiasm. A Richard Thompson cover, a fine
version of an old bluegrass song "Make Me A Pallet On Your Floor" and
her own "Only A Bend In The Road" followed, each displaying her voice
of spine-tingling purity. Edwina told a story about her two years in
Nashville then sang a song she'd penned with an unknown Nashville
songsmith who finally hit paydirt by penning an Alan Jackson hit. More
songs and stories followed with a John Prime cover and a song, "I Want
Your Love", taken from the Hummingbird album. Edwina's final
reminiscence about her alcoholic father was both funny and sad, as was
the song that went with it, "Pour Us A Drink". Overall, Edwina's set
was a showcase of truly beautiful music even if most of her lyrics
dwelled on heartbreak. All that was lacking was a shaft or two of hope
and joy. Tony Cummings

SUNDAY, 24th August

RICHY D - Underground - 10:30amUnfortunately
the full transatlantic compliment of G-Force Alliance couldn't make it
to Greenbelt, so it was left to Richy D to go solo with the aid of his
accomplice Colossal. Colossal by name and relatively colossal by size,
he worked the small morning crowd as they rapped over the funky
backing track for the cities of the UK and US to "Stand Up" for God.
The test of a good hip-hop gig is often whether the rapping can match
the well-produced beats and grooves of the backing tracks. I'm not
sure Richy D's voice did it full justice and I would have expected a
few more quirky metaphors within the lyrical content, but there can be
no criticism for their gospel-centred approach as they declared, "This
is more than mere music.I do this for Yahweh."Tom
Whitman

Quench
(photo by Jonathon Watkins/Greenbelt 2008)

QUENCH - Underground -11.20amSimmering
since their return to the recording studios in 2007, Quench have burst
back on to the CCM scene with a blistering four-track EP 'Reality
Radio'. Scorching guitar riffs, rhythms from the drums like you've
never heard and vocals second to none! Festival fans were treated to a
"secret" 40 minute gig by the band on Sunday morning. The queue wormed
its way from the entrance doors to a considerable distance outside the
venue, anticipation and expectation running high. The high level of
excitement amongst the crowd was evident. The band came on stage, what
no drummer? An acoustic set? Surely not? Was it going to be a
disappointment? Not at all. Treated to songs from the new EP, and some
favourites, the crowd lapped up every minute of it. In between songs
was the usual banter. It was as if the band had been away for only a
short time. The crowd cried out for more, but sadly it was not to be.
A triumphant return to the music scene and stage was accomplished and
everyone went away satisfied indeed. Little did they know Quench were
destined to play Mainstage the following day.Ken Eaves

TBC - Children's Festival - 12.00noonThe great
thing about Innervation's tweenie evangelists is you know exactly what
you'll get every gig. All action dance routines, cleverly catchy songs
from the pens of Pennell and Porter and spiritual truth gently but
plainly spelt out for the adoring seven to 11 year olds who make up
the bulk of their fan base. Judging from the hugely enthusiastic
response from the young audience here, they well and truly hit the
mark and indeed their renditions of "Beautiful", "Faithful", "Talk Of
The Town", "We'll Keep On Dancing", "Nobody Loves Me Like You Do" and
"One Summer's Day" were well up to par. A Greenbelt committee member
told me that his daughter had become an avowed TBC fan as a result of
this concert. He looked pretty pleased with the idea.Tony
Cummings

YVONNE LYON - Performance Café - 12.30pmAfter a
rainy Saturday night, 30 year old Scottish singer/songwriter Lyon
played to a packed out Performance Café. By the time Yvonne started
her second song "Healing Pain" the venue manager was turning
disappointed punters away. The ground was muddy and slippery but if
any of the audience came in frustrated or ill-tempered, I suspect that
by the end of Lyon's set their bad mood would have subsided. Lyon was
accompanied by her husband on guitar and they played and sang together
with relaxed confidence and a sense of fun. She spoke a lot of her
childhood in Scotland and used her stories and songs to paint an
enchanting portrait of childhood, the simple life and close family
("Come" and "Monkey Puzzle Tree"). "Colours" was a multilayered piece;
written about a walk in the rain, yet reflecting on another level many
deeper questions and feelings surrounding sad circumstances Lyon's
family were going through. The atmosphere lightened as the accordion
came out for goofy crowd-pleaser "Once Upon A Squish", a 12-bar blues
written by two lads at a songwriting workshop Lyon ran for
disadvantaged children. The enduring feeling that I left with was that
Lyon "created a world" that was deeply personal, yet welcoming,
accessible and full of optimism in the face of hardship. Suddenly, the
mud wasn't such a big deal after all.Ewan Jones

TANKUS THE HENGE - Underground - 1.00pmTankus
The Henge cryptically describe themselves as "street urchin purveyors
of bohemian rags, ballads and polkas" whose shows "astonish, enchant
and bewilder." I'm sure many of the audience present in Underground on
Saturday at 1pm would agree with the latter statement. The band
commanded the stage and had their audience bouncing, waltzing and
spinning on the spot in delight. Their sound is hard to categorise,
but for the sake of the review the following will suffice; they blend
folk with rock, add a funky jazzy edge then season each song with a
pinch of something else. Their show is driven by the talented Jaz
Delorean, keyboards and lead vocals; all the band members are both
very talented musicians and equally good showmen. This was the first
occasion I had seen Tankus since the recent addition of a trumpet and
saxophone, and the new sounds add further layers to the band's
intriguingly eclectic sound. At wall of sound moments they make the
wall 10 times bigger, leaving the listener enveloped in sound. A
friend commented, "They're not my kind of music, but you can't escape
their stage show, their magic."Jonathan Pearce

RISING FROM DEATH - Underground - 1.50pmDon't
get me wrong, I love this band. Every time I see them I enjoy their
energy and their brand of rough and ready metalcore. But their set at
Greenbelt seemed to be more like a metalhead's version of a workout
video. Every single song involved a long pause before it kicked in
whilst various members of the band told the crowd exactly what they
had to do to each song. Circle pit for this one, wall of death for
that one etc... I mean, it was fun to watch but it meant their set
lacked any continuity or pace and it really seemed to detract from
their artistry. Having said that, if you stopped to listen to the band
it sounded a mess. Again, this isn't a dig against their music, the
blame lies fair and square with the people who had to make their live
sound as good as possible. I've not against a band trying to rev the
crowd into action but I think doing it before (rather than during)
each song is a little excessive. On the plus side Rising From Death
clearly have a blatant faith and portray it in a very effective way.
Looking forward to their soon to be released EP.Greg
Sammons

BETH ROWLEY - Mainstage - 4.40pmThis is the
year of opportunity for rising star Beth Rowley. Her presence on
Mainstage drew a huge crowd that indicated an unjustified early time
slot. As sunny blue skies chased away the threatening black clouds
that were looming behind the stage, Rowley's soulful voice commanded
the attention of everyone in the field. Backed up by an excellent band
with a great sound, she commanded the stage with more presence and
accessibility than a thousand Amy Winehouses, confirming her status as
a genuine talent. Greenbelt regular and Duke Special band-member Ben
Castle joined the group mid-way through the set to bring some sax to
rock-and-roller "Beautiful Tomorrow" and first single "Oh My Life",
while Beth solo'd admirably on harmonica. The track "Little Dreamer"
gave Rowley's debut album a name, but didn't make the final track
listing - co-written with Castle, it was a beautiful track that ought
to make an appearance on a recording sometime soon. A cover of Willie
Nelson's "Angels Fly Close To The Ground" was introduced with an
unintentional double entendre as Rowley bantered with the crowd - as
the light switched on her apologetic embarrassment only endeared her
further to her audience. Something that became a more familiar sight
this year was the unnecessary encore (band leave stage, audience clap,
band return to the stage when they might as well have just stayed) it
seems a bit pointless when we know the allotted time slots from the
programme. Still, Rowley and the band received a well earned roar from
the crowd and obligingly returned to close the set with the soul
classic "I'd Rather Be Blind". Rowley has a voice to blow your head
off and gave a great performance. As she whipped off to the
Performance Cafe to wow some more Greenbelters, many newly won fans at
the Mainstage will have headed to the shops to grab a copy of Beth's
hit debut album.Ewan Jones

Julie Lee
(photo by Jonathon Watkins/Greenbelt 2008)

JULIE LEE - Performance Café - 5.00pmFinding myself with an unexpected gap in my schedule, and having
missed Julie's Mainstage appearance the day before, I set out to face
the liquid mud en route to the crowded Performance Café. Julie and her
accompanists are still soundchecking when I find a seat, my first
thought is that this set is going to be music a long way from the
Maryland jazz and swing of her Mainstage performance. As she and the
other musicians give audio once-overs to an abundance of acoustic
guitars, ukuleles, banjos, bass guitars, keys and even a glockenspiel
this Nashville-based singer/songwriter looks nervous and confesses as
much. After two or three songs I understood why. Here is a singer who
is not only giving the first live airing to a fresh batch of songs
(Julie's mini-album 'Will There Really Be A Morning' is being launched
at Greenbelt '08) but an artist courageously transforming her secrets
and pains into great art. Julie begins by explaining that her latest
recording has been "a labour of love" and then proceeds to sing two
songs based on the poems of Emily Dickinson. "Hope's The Thing With
Feathers" and "Morning" (taken from Dickinson's poem Will There Really
Be A Morning). They are exquisite. Aaron Rocke's deftly played guitar
work is the perfect foil to Julie's voice which soars with an
Appalachian purity. Julie introduces a friend, Henry Napier, on cello
insisting he looks like Johnny Depp. He doesn't. Julie explains how
she was a different person when she didn't know Christ, and how one
can do a lot of damage to oneself and how, even after we've received
forgiveness from God it can be a battle to forgive ourselves. Then,
plucking a simple rhythm on her tenor banjo and in a voice which
starts in little more than a whisper and builds into a chorus of
heavenly purity Julie sings "Forgive Yourself". She asks the crowd to
sing along with her, which they do though a lady across from me is too
choked with tears to join in the haunting refrain that fills the tent.
Here is a song ministering deep to broken human beings. She sings "The
Other Half", about the divorces Julie has seen have such devastating
effects on her friends. Its refrain "When you changed your mind/You
broke my heart" is as sad as pop music gets. "Now for the lighter
part," announces Julie and poetry is read and another exquisite song,
"The Shepherdess", is sung. Two children edge to the front of the
stage, drawn by the haunting music, and hesitantly dance in a shaft of
sunlight. Suddenly Julie's ethereal, transcendent music draws to a
close and the crowd is piling out of the tent, many making a beeline
for the G-Music tent. I've been visiting Greenbelt since 1981. I'm
certain that I've witnessed one of the finest performances that has
ever occurred there.Tony Cummings

THE AUSTIN FRANCIS CONNECTION - Underground -
5.00pmFor the last few years this quintessentially
English take on hip-hop culture have garnered a still growing fan
base, by playing anywhere and everywhere at Greenbelt that'll take
'em. This is the first year they've been given an official slot and
it's clearly long overdue. Fans of Flight Of The Concords should
already have some sort of idea of how it's possible to mix banter with
hip-hop vocals over a simple guitar sound. Add to that one of the UK's
premier exponents of the human beatbox and you're really in for a
treat, the kind of treat that goes well with scones and a lovely pot
of tea. They captivated a crowd that was already heavily disposed to
them with some lovely touches of patois and some memorable tunes,
including one mentioning that fine aforementioned British beverage.
Perhaps the hit of this year was their song dedicated to the earthy
Anglo Saxon moniker, Dave. Supposedly the song, along with its own
dance, had been hastily garbled together the previous weekend yet it
was already turning into a fan classic. The following day it was clear
I was going to have catch them again in the music shop and did so with
relish. The AFC are one of those rare entities that can both produce
memorable music and keep a crowd fully entertained.Greg
Sammons

Reader Comments

Posted by Harry in Loudwater @ 16:56 on Oct 30 2008

I particularly enjoyed Andensum - Underground - 11.20am. Its
a shame they didn't get reviewed. What a top band.
Considering such an early hour here was an exciting energy
filled solid performance which was like a raucous alarm
going off in a midsummers dream to all the bewildered and
flagging 'belters.
I'm not sure everyone recognises Epic that early in the
morning but a few ears were pinned back during this
onslaught of riffs and melodies that makes this band
listenable watchable and most definitely different.
Definitely deserve a return slot

Seth Lakeman's set would have been good if the sound had
been better.His songs have great lyrics especially,the
Penlee lifeboat song,but you couldnt hear the words.Also he
is a great fiddle player and should have played more during
his set.His best moments were when he dispensed with his
band and played solo.

Absolutely loved both Emmanuel Jal and Michael Franti and
Spearhead,having watched them back to back. A "young at
heart" 54 year old, I did as much "bopping" as my body would
allow!!
There was a little girl who had come with her Dad,next to
me,and they were dancing,too,so there was a great
atmosphere.It was lovely when Michael came off the stage to
meet the crowd-we were right by the barrier-and he gave her
his plectrum(and me a kiss!).What a wonderful evening!

I must agree with both Craig Gilman in Brum and Paul in
Bristol, Dessert Sun were incredible, Kev Greaves, is a
great friend of mine and as far as I know, one of Rising
From Deaths biggest and longest fans lol, Kev and the guys
from Gen (RIP) are all amazing and supported us from the
start, I hope that they all find what God wants them to do
and blesses them immensly

Have to agree Craig - myself and my daughter thought Desert
Sun were the best band we saw at GB08. Talked with Steve the
singer / lead guitarist briefly afterwards - what a nice
guy. Check out their MySpace site for three great tracks -
they sound almost as good as seeing them live.

I'm not sure about the 'Tony C always finds something to
complain about' sentiments, but I do think his Garth H
review was rubbish. Standard zionist arguments, similar to
those employed by the Apartheid regime are standard in
Christian political discourse, but do you have to fill half
a music review with them? Would Mr C allow any of his
reviewers or staff to similarly fill a review with the
standard Palestinian liberation position? methinks not.

I'm not going to cry 'repent!' for his politics (though it
would not be a bad idea to hold one's opinion of Israel up
to the standard of love in the Gospel) but I do get the
feeling his opinion of Garth's music has quite alot to do
with his take on the Israel situation.

In your review of Emmanuel Jal’s concert, you mentioned the
“phat Afrobeat rhythms” he was dancing to. Sorry to sound
like a pedant, but there was no Afrobeat at the concert.
“Afrobeat” is the name of a specific genre; the fusion of
jazz and Nigerian rhythms pioneered by the late Fela Kuti.
Emmanuel’s music, on the other hand, is based more on
Sudanese music fused with hip hop and reggae.

By the way, if you want to hear a real example of a
Christian playing Afrobeat, try Jide Arowolo or Mike Aremu
(who was also at Greenbelt, leading worship in the CMS
venue).

First time ive ever been to greenbelt and it was great :-) i
missed [dweeb] THRICE! times hmpf! ah well.. i watchd a
failed perfection who seem to have big potential!
I love the idea that the festival attracts all kinds of
characters, even skunks and parrots... and one massive
owl.

I think the comments comparing DWEEB and FIGHTSTAR are
misguided. One is a rock/pop band and the other a heavy
rock outfit. That I happen to know them both means I can
say they are both wonderful people and both worthy of
watching live. I can see DWEEB doing great things and
FIGHTSTAR are a fantastic band.

Greenbelt as a whole was a fantastic festival this year. The
CR reviews are a really excellent resource and the fact that
nearly 20,000 paid to go to GB and nearly 25,000 were on
site shows that the Festival is more relevant than it ever
has been. It is certainly Christian and certainly seeks to
get "action" rather than dogmatic words to dominate
Christians' lives.

I agree entirely with Mark, [Dweeb] and Fightstar cannot
POSSIBLY be compared!! [Dweeb] may have a hard edge to their
sound and yes they do rock out, quite a lot, but theirs has
huge jazzy and playful components too and their live
performance is one of fun and jokes and worship just as much
as about quality rock. Fightstar seem to just be concerned
with their moshing rock and metal sound, and do so with
vigour. There is nothing wrong with either of these, they
are just different.

I also agree entirely with your perspective on Greenbelt, I
love the fact that it is not about dogma or "happy clappy"
music. It is real and connects with people and yes, the best
Christian highlight of my year.

Not sure if anyone'll be reviewing our set, but safe to say
we had a smashing time, had a couple of packed out gigs,
sold more CDs than we thought we might which means than
people like us more than we reckoned!
Hope we can make it back next year...